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Zusatztext This much needed collection contextualizes music video squarely within the historical, aesthetic, and institutional discourses of visual art. It treats music video not simply as an industrial product but as a hybrid genre in which artistic practices of film, television, and artists’ video enter into dialogue with one another and with everyday practices of consumption and identity formation. This stimulating volume situates music video in an expanded field and offers multiple starting points for new ways of talking about it. Informationen zum Autor Kathrin Dreckmann is Assistant Professor at the Institute for Media and Cultural Studies at Heinrich Heine University Düsseldorf, Germany. Her research focuses on acoustic studies, gender, and media studies. Her recent work includes publications on the aesthetics and the dispositive of music video, performativity in popular music and media theory. Elfi Vomberg is Assistant Professor at the Institute for Media and Cultural Studies at Heinrich Heine University Düsseldorf, Germany. In her research projects, she focuses on culture, aesthetics, and history of acoustic media as well as on the field of archive and memory studies. In her current research projects, she focuses on culture, aesthetics, and history of acoustic media as well as on the field of archive and memory studies. She has also published extensively on cancel culture and cultural boycotts in media cultures. Vorwort Examines the processes of hybridization between music video, film, and video art by presenting current theoretical discourses and exploring crucial questions of art practice Zusammenfassung The genre of the video clip has been established for more than thirty years, mainly served by the sub genres of video art and music video. This book explores processes of hybridization between music video, film, and video art by presenting current theoretical discourses and engaging them through interviews with well-known artists and directors, bringing to the surface the crucial questions of art practice. The collection discusses topics including postcolonialism, posthumanism, gender, race and class and addresses questions regarding the hybrid media structure of video, the diffusion between content and form, art and commerce as well as pop culture and counterculture. Through the diversity of the areas and interviews included, the book builds on and moves beyond earlier aesthetics-driven perspectives on music video. Inhaltsverzeichnis Introduction by Kathrin Dreckmann and Elfi Vomberg I MEDIA ARCHAEOLOGY: THE BEGINNING OF HYBRID MEDIA 1 Music Video and Its Convergence Potential: From the Hybrid to the Permeable Henry Keazor, Heidelberg University, Germany 2 Sound & Vision: Early Artists’ Video and Music Chris Meigh-Andrews, University of Central Lancashire, UK 3 The Process of Creating Was More Important Than the Object: Interview with Ulrike Rosenbach II MEDIA ARCHIVES ON HYBRIDS 4 It Belongs in a Museum? Music Videos in Danish Museum Exhibitions Mathias Bonde Korsgaard, Aarhus University, Denmark 5 “No Returns for Dislike”: How Music Videos and Video Art Entered the Living Room in the 1980s Linnea Semmerling, Düsseldorf Inter Media Art Institute (IMAI), Germany 6 An Aura with Pencil, Brushes, and Pixels: Interview with Wulf Herzogenrath , III HYBRID IMAGINES: MEDIA AESTHETICS BETWEEN POP AND IDENTITY 7 “You Need To Calm Down”—Stardom and Cancel Culture: The Music Video as an Audiovisual Protest Poster Elfi Vomberg, Heinrich Heine University, Germany 8 Facing the Lens of the Camera: Bodies, Self-portraiture, Portraiture, and Identity in Women Artists’ Video Laura Leuzzi, Robert Gordon University, University of Abertay, UK 9 Spirit of Creation—Between Documenting, Expressing, and Archiving: Interview with AnAkA IV AESTHETICS OF POPULAR MEDIA HYBRIDS 10 Trans* Bowie…Trans* Prin...
